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THE SEVEN AGES 



SHAKSPEARE. 



J.ON T D0V : 
PRINTED BY SAMUEL BENTLEY, 

Bangor Huuse, Shoe Lane. 



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THE SEVEN AGES 



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The favour with which the attempt to illustrate the Elegy 
of Gray was received led to the following series of illustra- 
tions. 

The notes in explanation of this celebrated passage in the 
works of Shakspeare are so copious that the editor would 
have been contented with reference to them, hopeless of 
being able to add anything to what is there collected ; but 
the kindness of Lady Callcott has furnished him with the 
following interesting illustration of the subject, which cannot 
fail to be perused with the pleasure and satisfaction always 
derived from whatever proceeds from her pen : — 

Sir, 

On reading over the names of the commentators 
on Shakspeare, particularly of those who have turned their 
attention to the often- quoted passage in "As You Like it,'" 
comparing the world with a stage, and the Seven Ages of 
Man to " its exits and its entrances,' 1 it would be natural to 
conclude that all that learning and sagacity could do to illus- 
trate the passage had been already accomplished. 

It appears, however, that there are still some passages, 
even among the classical writers, which those commentators 
have not pointed out, bearing closely on the subject. To 
go no further than Horace's Art of Poetry, can anything be 



more apt than the poet's advice* to the writer of plays, where 
human life is at once placed upon the stage, and a fitness of 
dramatic delineation for each period is truly and delicately 
traced ? We might even turn to the Greek philosophers and 
moral poets for similar illustrations. Probably, however, 
the earliest writer who has spoken of the " Seven Ages " in 
so distinct and definite a manner as to be compared with 
Shakspeare, is quoted by Hurwitz in his Hebrew Tales : 
thus — 

" THE SEVEN AGES. 

" The first commences in the first year of human exist- 
ence, when the infant lies like a king on a soft couch, with 
numerous attendants about him, all ready to serve him, and 

* " iEtatis cujusque notandi sunt tibi mores, 
Mobilibusque decor naturis dandus et annis. 
Reddere qui voces jam scit puer et pede certo 
Signat bumum, gestit paribus colludere, et iram 
Colligit ac ponit temere, et mutatur in horas. 
Imberbis juvenis, tandem custode remoto, 
Gaudet equis canibusque et aprici gramine campi ; 
Cereus in vitium flecti, monitoribus asper, 
Utilium tardus provisor, prodigus seris, 
Sublimis, cupidusque, et amata relinquere pernix. 
Conversis studiis eetas animusque virilis 
Qu^erit opes et amicitias, inservit honori, 
Commisisse cavet quod mox mutare laboret. 
Multa senem circumveniunt incommoda ; vel quod 
Quserit, et inventis miser abstinet, ac timet uti ; 
Vel quod res omnes timide gelideque ministrat ; 
Dilator, spe longus, iners avidusque futuri, 
Difficilis, querulus, laudator temporis acti 
Se puero, censor castigatorque minorum." 



eager to testify their love and attachment by kisses and 
embraces. 

" The second commences about the age of two or three 
years, when the darling child is permitted to crawl on the 
ground, and, like an unclean animal, delights in dirt and 
filth. 

" Then, at the age of ten, the thoughtless boy, without 
reflecting on the past or caring for the future, jumps and 
skips about, like a young kid on the enamelled green, con- 
tented to enjoy the present moment. 

" The fourth stage begins about the age of twenty, when 
the young man, full of vanity and pride, begins to set off 
his person by dress, and, like a young unbroken horse, 
prances and gallops about in search of a wife. 

" Then comes the matrimonial state, when the poor man, 
like the patient ass, is obliged, however reluctantly, to toil 
and labour for a living. 

" Behold him now in the parental state, when surrounded 
by helpless children craving his support, and looking to him 
for bread, he is as bold, as vigilant, and as fawning too, 
as the faithful dog ; guarding his little flock, and snatching 
at everything that comes in his way in order to provide for 
his offspring. 

" At last comes the final stage, when the decrepid old 
man, like the unwieldy though sagacious elephant, becomes 
grave, sedate, and distrustful. He then also begins to hang 
down his head towards the ground, as if surveying the place 
where all his vast schemes must terminate, and where am- 
bition and vanity are finally humbled to the dust. 1- ' * 

When travelling through Italy, a few years ago, we found 
in the cathedral of Sienna a curious proof that the division 
of human life into seven periods, from infancy to extreme 

* Medrash Koheloth. 



old age, with a view to draw a moral inference, was common 
before Shakspeare's time. 

The person who was showing us that fine church, di- 
rected our attention to the large and bold designs of Bec- 
cafumi, which are inlaid in black and white on the pave- 
ment, entirely neglecting some works of a much older date, 
which appeared to us to be still more interesting on account 
of the simplicity and elegance with which they are de- 
signed.* Several of these represented Sibyls and other 
figures of a mixed moral and religious character ; but in one 
of the side chapels we were both surprised and pleased to 
find seven figures, each in a separate compartment, inlaid 
on the pavement, representing the Seven Ages of Man. 
Our time was so very short, that it was only possible to 
make a slight sketch by way of memorandum of the sub- 
jects ; that sketch accompanies this letter, in order that 
you may compare it with Shakspeare 1 s poetry, and the 
Hebrew parable. 

The division of human life into seven periods, appears 
to have been a common theme among the elder moralists ; 
it may possibly have arisen from considering threescore and 
ten years as the term of our natural life, and portioning it 
out into seven tens accordingly. 

The Sienna floor gives countenance to this idea ; the 
youngest figure is almost infantile, but yet too old both 
for the " mewling infant" of Shakspeare, and the soft 
nursling of the Medrash. The boy just turned of ten 
years old is evidently designed in the next figure, and the 
cloaked youth of twenty approaches to a manly appearance. 
At thirty, with his hawk upon his fist, he goes on to middle 
age in perfect vigour ; till at forty he attends to business, 
and with book in hand, may be supposed to have entered 

* Lanzi says they are by Federigi of Sienna, who flourished in 1482. 



10 

into the mercantile or senatorial dignity. He is now of 
greater bulk, and more self-important. From fifty to sixty, 
lie declines ; he has a staff, but he has also a purse, whose 
weight he not unwillingly bears. From sixty to seventy, 
supported on crutches, he is creeping towards the grave, 
which is open to receive him, when he shall have accom- 
plished his threescore and ten years. 

Thus the designer of Sienna has differed, in detail, from 
our delightful poet and from the venerable Hebrew Rabbi ; 
but the general intent of all is the same, namely, to mo- 
ralize on that " vanity of vanities'"* — Human Life. 

Several of the early designers have employed themselves 
on similar themes. Tobias Stimmer, in his clever wood- 
cuts, gives man ten periods of ten years each, making human 
life extend to a hundred years. Each of his cuts contains 
two decades, five of men and five of women ; the very orna- 
mental leaves are indicative of the changes that years bring 
with them, and the gradual improvement and decay are 
marked with a power deserving the praise bestowed by 
Fuseli on T. Stimmer's compositions. 

It were to be wished that Henley had mentioned the 
name of either the inventor or engraver of the old print 
referred to in the notes in Johnson's and Steevens's Shak- 
speare, on Jaques' speech. As it is, we are left quite in 
the dark as to the age and author of the prints said to have 
been " stuck up in the generality of houses,'''' at so early 
a period as before Shakspeare's time. What has become 
of all these prints ? was that of which Steevens says that he 

* The Medrash says, that Rabhi Simon in this verse accounts for the 
allusion to the Seven Ages of human life thus. The word occurs twice 
in the plural, which the Rabbi considers as equal to four, and three times 
in the singular, making altogether seven. " Vanity of Vanities," saith 
the Preacher ; " Vanity of Vanities, all is Vanity." 



11 

could " have better spared a better print, 11 one of them ? 
Perhaps you, Sir, may be able trace them. 

At any rate I feel sure that whatever the merits of those 
old prints may be, your present work will do honour to the 
Ages of Shakspeare, not less than to the art itself employed 
to illustrate them. 

I am, Sir, with best wishes for its success, 

Your obedient servant, 
Maria Callcott. 

To these interesting remarks, little more remains than 
to refer the curious reader to the notes upon the Seven 
Ages in the last edition of our Author ; from whence, as 
peculiarly applicable, the following passage from an old 
writer, quoted by Mr. Malone, is derived : — 

" Wee are not placed in this world as continuers ; for 
the Scripture saith we have no abiding citie heere, but as 
travellers and soiurners, whose custome it is to take up a 
new inne, and to change their lodging, sometimes here, 
sometimes there, during the time of their travell. Here 
we walke like plaiers upon a stage, one representing the 
person of a king, another of a lorde, the third of a plowman, 
the fourth of an artificer, and so foorth, as the course and 
order of the enterlude requireth ; everie acte whereof beeing 
plaide, there is no more to doe, but open the gates and dis- 
misse the assemblie. 

" Even so fareth it with us : for what other thing is the 
compasse of this world, beautified with varietie of creatures, 
reasonable and unreasonable, but an ample and large theatre, 
wherein all things are appointed to play their pageants, 
which when they have done, they die and their glorie ceaseth/ 1 * 

* The Diamant of Devotion, by Abraham Fleming, 4to. 1586. 



12 

The same subject is thus beautifully treated by Mr. 
Wordsworth in the Excursion : — 

" This file of infants, some that never breathed 
The vital air ; and others, who allow'd 
That privilege, did yet expire too soon, 
Or with too brief a warning, to admit 
Administration of the holy rite 
That lovingly consigns the babe to the arms 
Of Jesus, and his everlasting care. 
These that in trembling hope are laid apart, 
And the besprinkled nursling, unrequired 
Till he begins to smile upon the breast 
That feeds him ; and the tottering little one 
Taken from air and sunshine when the rose 
Of infancy first blooms upon his cheek ; 
The thinking thoughtless school-boy ; the bold youth 
Of soul impetuous, and the bashful maid 
Smitten while all the promises of life 
Are opening round her ; those of middle age 
Cast down while confident in strength they stand, 
Like pillars fixed more firmly, as might seem, 
And more secure, by very weight of all 
That, for support, rests on them ; the decay 1 d 
And burthensome ; and, lastly that poor few 
Whose light of reason is with age extinct ; 
The hopeful and the hopeless, first and last 
The earliest summon'd and the longest spared, 
Are here deposited " 

No trace can be found of the " emblematical representa- 
tions'" which Henley states were stuck up in the generality 
of houses, mentioned by Lady Callcott in her interesting ac- 
count. Mr. Douce, the most indefatigable commentator on 



13 

our great poet, throws no light upon the matter : he mentions 
a wood-cut illustration in " Comenii Orbis Sensualium 
Pictus," which, from its representing both sexes, has been 
faithfully copied from that work, and here presented to the 
reader. 



& 



■•w 




It is entirely matter of conjecture, what illustrations 
Steevens alludes to as formerly in his possession, when he 
states, " I could have better spared a better print.'''' 

The interesting sketch mentioned in Lady Callcott's essay, 
and most kindly contributed in illustration of this work by 
Sir Augustus Callcott, proves that this division of human 
life early engaged the attention of the painter. The fol- 
lowing is a list of a few that have come under the Editor's 
notice, in addition to those designed by T. Stimmer : in 



14 

some cases it will be seen the artist has contented himself 
with dividing human life into four periods : — 

Crispin de Pas, from his own designs, a series of six, with 
a title-page, with these words, " iEtates hominum secundum 
anni tempora." 1559. 

Muykens ; a series of etchings, from his own designs, di- 
vided into ten periods. Circa, 1640. 

A. Gillot, engraved by Joullain ; four ages. 

J. Raoux, engraved by Moyreau ; four ages. 

C. N. Cochin, after his own designs ; four ages. 

Bosc, two sets, one a ceiling ; four ages. 

Goltzius, engraved by Saenredam ; four ages. 

C. Dusart, from his own designs ; four ages. 

Lancret (in the National Gallery), engraved by Lar- 
messin ; four ages. 

Behnes, engraved on wood, in " The Saturday Magazine. "' 

Smirke, R. A. in BoydelFs Shakespeare; seven ages. 

Stothard, R. A. engraved by Bromley. 

Stothard, R.A. on wood, in an edition of Shakespeare, 
printed by Whittingham, in one volume. 1830. 

Green (of Birmingham) on wood, in an edition of Shake- 
speare, seven volumes, printed by Whittingham. 1816. 



15 

It remains only to say a few words with reference to this 
addition to the illustrations of one of the most popular pas- 
sages in the works of our great poet. 

The rapid progress, or perhaps revival of wood-engraving 
in this country, so remarkable within these few years, may 
be, in a great degree, attributed to the facility of passing 
the blocks through the same press that prints the descriptions 
they illustrate. 

The high reputation of the eminent artists who kindly 
consented to make, in several instances for the first time, 
the drawings on wood which are now presented, is too well 
known to be further remarked upon. It was the wish of the 
projector of this series to obtain the highest talent, hitherto 
not generally employed in illustrations on wood. To the 
members of the Royal Academy who have so kindly con- 
sented to accede to this wish, his thanks are most grate- 
fully offered. How far they have succeeded in their deli- 
neations of this beautiful passage it will be for the public to 
decide. 

To Lady Callcott the Editor begs to return his sincere 
thanks for the interesting essay prefixed to these remarks. 
To Sir Augustus Callcott he is greatly indebted for the in- 
terest he evinced in the plan, and for many useful sug- 
gestions which he afforded him. 

William Mulready, Esq. R.A. he takes this opportunity 
of thanking, for undertaking the very difficult subject 
which bears his name. It is some gratification to the writer 



16 

to know that the consequence of requesting his aid to illus- 
trate " All the World 's a Stage," induced him to paint the 
subject on a more extended scale, which now forms one of 
the ornaments of the rich collection of modern paintings 
of Mr. Sheepshanks. 

During the progress of this work through the engraver's 
hands, two of its kind and valuable contributors have " made 
their exit." John Constable, R.A. and William Hilton, 
R. A . The interest which the first-named artist took in the 
trifling affair required of him, is best evinced by the fact 
that he had made nearly twenty sketches for the " melan- 
choly Jaques," which, by the kindness of C. R. Leslie, 
Esq. R.A. now accompanies this work ; that gentleman hav- 
ing selected the design he judged most appropriate, and care- 
ful of the reputation of his deceased friend, took the ad- 
ditional trouble upon himself of transferring it to the wood. 
Without his assistance, this effort, however trifling, of one 
of our true painters of English scenery, would not have ap- 
peared — a matter which would have caused deep regret to 
the Editor, in being prevented exhibiting this tribute of 
respect to the talent and memory of one in whose society he 
has enjoyed many pleasant hours. 

Mr. Hilton's subject was completed but a very short 
period before death deprived this country of one of its most 
distinguished artists. The writer of this humble tribute to 
his memory and grateful acknowledgment of his aid to this 
undertaking, had the melancholy pleasure of an interview 



17 

shortly before his departure, and of hearing him express his 
satisfaction at the mode in which his subject had been 
treated ; and he can never forget, in allusion, it is feared, 
to the sparing patronage his department of art had received, 
his expression of "poor fellow !"* in reference to the wishes 
of a young aspirant desirous of pursuing and cultivating the 
same branch. 

To Mr. Thompson and Mr. Williams, for their anxiety to 
render their execution of the engravings as perfect as possi- 
ble, he begs to return his thanks. 

John Martin. 

Woburn Abbey, 
April 21, 1840. 

* It is curious to observe, on the death of these two distinguished 
artists, the anxiety evinced to secure specimens of works so little sought 
after in their life-time, for the National Collection. Mr. Constable's pic- 
ture of the Corn-field was purchased by subscription for three hundred 
guineas ; and a subscription is now in progress for Mr. Hilton's picture 
of Sir Calepine, for five hundred guineas. 



18 



" All the world's a stage, 
And all the men and women merely players : 
They have their exits, and their entrances ; 
And one man in his time plays many parts, 
His acts being seven ages. At first, the infant, 
Mewling and puking in the nurse's arms ; 
Then, the whining school-boy, with his satchel, 
And shining morning face, creeping like snail 
Unwillingly to school : And then, the lover ; 
Sighing like furnace, with a woful ballad 
Made to his mistress 1 eyebrow : Then, a soldier ; 
Full of strange oaths, and bearded like the pard, 
Jealous in honour, sudden and quick in quarrel, 
Seeking the bubble reputation 

Even in the cannon's mouth : And then, the justice 
In fair round belly, with good capon lined, 
With eyes severe, and beard of formal cut 
Full of wise saws and modern instances, 
And so he plays his part : The sixth age shifts 
Into the lean and slipper'd pantaloon ; 
With spectacles on nose, and pouch on side ; 
His youthful hose well saved, a world too wide 
For his shrunk shank ; and his big manly voice 
Turning again toward childish treble, pipes 
And whistles in his sound : Last scene of all, 
That ends this strange eventful history, 
Is second childishness, and mere oblivion ; 
Sans teeth, sans eyes, sans taste, sans everything." 







Vohh rnmi ri 



London: John Van Voorst, Paternoster Row,— June 1340. 







London: John Van Voorst, Paternoster Row — June 1840. 




London John Van Voorst. Faterncster Row.— Jane 1610. 




London: John Van "Voorst, Paternoster Row.— June 1840. 



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London: John Van Voorst, Paternoster Row.— June 1840. 




London : John Van Voorst, Paternoster Bow.— Jane 1840. 



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London: John Van Vcorst. Paternoster Row — June lSl'l. 



LIST OF ILLUSTRATIONS. 



/ 



ALL THE WORLD 'S A STAGE. 



WILLIAM MULREADY, ESQ. R. A. 
/ 



VIGNETTE on the Title-page. 



C. R. LESLIE, ESQ. R. A. 



JOHN THOMPSON. 



S. WILLIAMS. 



^ SKETCH OF THE PAVEMENT IN THE CATHEDRAL OF SIENNA. 

SIR AUGUSTUS CALLCOTT, R. A. JOHN THOMPSON. 

1 DESIGN FROM COMENII ORBIS SENSUALIUM PICTUS. 



JAQUES. 



JOHN CONSTABLE, ESQ. R. A. 



JOHN THOMPSON. 



S. WILLIAMS. 



v/the infant. 



SIR DAVID WILKIE, R. A. 



JOHN THOMPSON. 

c 



20 

THE SCHOOLBOY. 



J 



WILLIAM COLLINS, ESQ. E. A. 



JOHN THOMPSON. 



THE LOVER. 



ALFRED E. CHALON, ESQ. R. A. 



THE SOLDIER. 



V 



ABRAHAM COOPER, ESQ. R. A. 



THE JUSTICE. 



/sir 



AUGUSTUS CALLCOTT, R. A. 



X 



JOHN THOMPSON. 



JOHN JACKSON. 



JOHN THOMPSON. 



'THE LEAN AND SLIPPER'D PANTALOON. 

EDWIN LANDSEER, ESQ. R. A. S. WILLIAMS. 



v4ast 



SCENE OF ALL. 



WILLIAM HILTON, ESQ. R. A. 



S. WILLIAMS. 



THE END. 



LOSBON 

PRINTED BY SAMUEL liENTLEY, 

Bangor Hou^e, Shoe Lane. 



PREPARING FOR PUBLICATION, 

THE VICAR OF WAKEFIELD; 

WITH 32 ILLUSTRATIONS, 

DESIGNED AND DRAWN UPON WOOD, BY 

WILLIAM MULREADY, ESQ. R.A. 



JOHN VAN VOORST, PATERNOSTER ROW. 



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